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20130124
20130201
Search Results 0 to 7 of about 8 (some duplicates have been removed)
exists as an element in the cultural life of every society. (levin the environment can influence music both conscious and unconscious ways. for instance in the west, the argument has been made that a lot of the dissonant music that arose at the beginning of the century was a result or a reaction to the noisiness of industrialization, and the dissonance of modern civilization-- that it was a reflection of social dissonance, in a way, in sound. [dissonant orchestra music] (slobin) if we use the word environment to relate to music, we're talking about two things: a physical environment and a social environment. in the case of highlander people in bosnia singing together, the two are pretty much inseparable. (narrator) in a mountainous region of bosnia herzegovina close to sarajevo, a sheep herding community has developed a unique singing style known as ganga. this genre, which is primarily sung outdoors in groups, closely reflects the conditions and life style of the highlander commity. in bosnian highlander culture, specifically in mt. bjelasnica, people will spend a lot of time outdoor
at this baby. what physical skills do you think she has mastered already? what type of environment do you think would allow this child to practice old skills while challenging her to develop new os? let's remember how important play is as the means children use to try out and practice new skills. what m look like simple reaching or pulling to us can really be this child's earliest efforts to master some vital large muscle skills. we want to make it into a swimming pool. woman: bring them over here now. hendrick: and large muscle skills include different kinds of activities. woman: no. right over here. child: where's the swimming pool? second child: we can't see! hendrick: teachers need to plan so that children can practice them all... while having fun. [children talking] child: this is hard work! hendrick: they need opportunities to develop upper body strength and expertise by pulling themselves up and hanging from apparatus; by swinging, and by rolling balls at targets and throwing bean bags. geronimo! teacher: hop. let me see some hopping. hendrick: they need opportunities to strengthen their
is in part what their genetic nature is, but it's also a part of what kind of an environment and life they live-- the nurture they have. so you can be genetically susceptible, but never exposed. but i think there's a public perception that the environment-- i mean smog, pesticides, water pollution, hair spray, you name it-- that these things are important causes of disease, and the reality is, they're not. there are a few biggies. there's cigarette smoke; there's asbestos... which is pretty much a problem of the past. and then, it's a pretty short list. the rest of the causes of disease are-- if they're not infectious-- are inside us. but often, the conditions in which one lives play a critical role in the ability to maintain good health, clearly, in most communities a level of development which has benefited many people, but left others behind. so one sees large slum areas of marginalized people, with people living under very poor conditions around the big cities. i saw it in china when i went there with my family in 1982. the farther away from beijing we went, the more "third world"
, how we organize our societies and how we make our living. humans have populated every environment on earth. we live on the frozen tundra and in the searing deserts. we live in thriving cities of millions and in isolated camps of a few dozen. some societies seem simple because they are small and their members are self-sufficient and use simple tools. others seem complex because they have large populations and people depend on each other for food and goods and use sophisticated technology. in between, there is a range that fills the spectrum. all of these differences are cultural, learned behavior, the result of a complex interaction between our inventiveness and our natural environments. as we search for new horizons, our inventiveness thrusts us across the boundaries of space, into new worlds. this new view of earth dispels an ancient myopia -- the artificial boundaries of our states and the politics that often divide us. here is a vision of one planet and one family of humankind. but the view from earth reminds us of a common human dilemma, the rise and fall of our many ways of l
the atmosphere here. environment experts believe lawmakers are taking the situation seriously. >> there is a political ownership of that change. the government is certainly more responsive, but in terms of action, and implementation is a problem and there is a lot of slack, even now. >> whenever the experts say, it is people with breathing problems to suffer the most. this man has had asthma all his life and his condition gets worse. >> we cannot inhale that. we're not comfortable breathing that air. i usually go to the park in the morning but i don't feel like it when there is smog. >> local authorities are planning to place electric signboards to warn drivers about pollution and encourage them to keep their cars at home. activists say it's a start but what they want to see is a better public transport policy and a secure cycling lane it to encourage drivers to leave their cars at home and keep pollution and smog at bay. >> the president of venezuela remained in cuba where he has been treated for cancer. a spokesman says he's overcome a respiratory infection and is still poli
thousands of workers manufactured films in a factory-like environment. (narrator) they were run by iron-fisted moguls who churned out stories with assembly-line efficiency. although studios have faded, crafts people working today -- production designers, editors, cinematographers, writers -- continue to employ basic stylistic principles established in the studio era. they could do more pictures in a week than i could do in a lifetime; they never did them alone. (richard sylbert) they had huge departments. (dede allen) in the days of the 30's everything was studio structure everybody worked for the studio. harry cohn at columbia, not only saw dailies, he knew how to look at dailies. (allen daviau) the first thing they looked at was how the stars looked the cinematographer was under a great deal of pressure to deliver mood, to deliver drama, to deliver all the texture that the story demanded and at the same time keep the stars looking as good as the studio expected them to look. a strong structure watched over the technique of the pictures and enforced certain rules. (richard sylbert) one
Search Results 0 to 7 of about 8 (some duplicates have been removed)